Musichttp://hdl.handle.net/10468/772
Sun, 02 Aug 2015 22:25:26 GMT2015-08-02T22:25:26Z"Farò quel che me piacerà": Fictional women in villotta voice resistancehttp://hdl.handle.net/10468/1711
"Farò quel che me piacerà": Fictional women in villotta voice resistance
Marshall, Melanie L.
Marshall, Melanie L.; Carroll, Linda L.; McIver, Katherine A.
Thu, 01 May 2014 00:00:00 GMThttp://hdl.handle.net/10468/17112014-05-01T00:00:00ZWest Brompton blueshttp://hdl.handle.net/10468/1750
West Brompton blues
O'Donnell, Paul
A Celtic Jig time melody performed over a rhythm section part that combines a 4/4 Latin feel with a 6/4 Jazz time feel simultaneously. This is all placed in a contemporary jazz harmonic context
Wed, 01 Jan 2014 00:00:00 GMThttp://hdl.handle.net/10468/17502014-01-01T00:00:00ZThe endless search for SA: spiritual ideology in Hindustāni musichttp://hdl.handle.net/10468/1864
The endless search for SA: spiritual ideology in Hindustāni music
O'Brien, Dara
This dissertation centres on philosophical attitudes presented by North Indian classical musicians in relation to the concept and experience of rāga improvisation. In Hindustāni music, there is a dynamic tension ideology and pragmatism, devotion and entertainment, fixity and improvisational freedom, and cognition and visceral experience. On one hand, rāga is an embodied methodological template for the creation of music. On the other hand, rāga improvisation is conceptualised as a path to metaphysical experience and as an evocation of an ineffable divine presence. A masterful rendition of rāga is both a re-enactment of a systematic prescribed formula and a spontaneous flow of consciousness. This study presents these apparent dichotomies to highlight ideological concerns, while simultaneously contextualising philosophical idealism in relation to pragmatic realities. A central paradigm is the manner in which pragmatic concerns are elevated in status and given spiritual significance. The dissertation begins with a view into historical and religious context. The discussion continues with a speculative investigation positing co-relations between Hindustāni music and central tenets of Indian philosophy, considering how rāga improvisation may manifest as a philosophy of sound. The study then explores the concept of rāga, a modal and conceptual construct that forms the heart of Indian classical music. The final three sections ground the subject of spiritual ideology within the life experience of Hindustāni musicians: ‘Transmission’ looks at the learning and enculturation process, which encapsulates values intrinsic to the ethos of Hindustāni music culture. ‘Practice’ explores the discipline, science and experience of musical practice, revealing core ideological concerns connecting spirituality to musical experience; and ‘Performance’ examines the live presentation of rāga improvisation, and the relationship between music as ‘entertainment’ and music as ‘devotion’. Both ethnographic and musicological, this research is the culmination of various fieldtrips to India, extensive interviews with Hindustāni musicians, fifteen year’s sitār training, and the study of relevant musicological and philosophical texts.
Wed, 01 Jan 2014 00:00:00 GMThttp://hdl.handle.net/10468/18642014-01-01T00:00:00ZOn the runhttp://hdl.handle.net/10468/1751
On the run
O'Donnell, Paul
AABA Modal/World Music Fusion piece. A modal piece with the A sections based on the D dorian mode and the B section based on the E flat dorian mode. The time signature moves around in the A section (between 6/8 and 9/8. The melody of the B section is fragmented and contains unorthodox phrase starting and ending points
Wed, 01 Jan 2014 00:00:00 GMThttp://hdl.handle.net/10468/17512014-01-01T00:00:00Z